charles university in prague

Transcription

CHARLES UNIVERSITY IN PRAGUE
Faculty of Education
Department of Music Education
Turkish Music.
Its roots and traditional instruments,
with the emphasis on darabuka and its rhythms.
2012/2013
Marta Michalska-Uras
1
UNIVERZITA KARLOVA V PRAZE
Pedagogická fakulta
Katedra hudební výchova
Turecká hudba.
Její kořeny a tradiční nástroje
s důrazem na darabuku a její rytmy.
Hudební výchova – anglický jazyk
Vedoucí: PhDr. Magdalena Saláková
Oponent: Prof. PhDr. Stanislav Pecháček, Ph.D.
2012/2013
Praha
2
Declaration
I confirm that this is my own work and the use of all materials from
other sources has been properly and fully acknowledged. I agree
with storing my work in the library of the Faculty of Education, of
Charles University in Prague, in order to be available for
educational purposes.
Marta Michalska-Uras
Prague
3
Contents
Introduction………………………………………………………………...5
1 Historical Background…………………………..……………………..8
1.1 Pre-Islamic Turkish Music……………………………………………...9
1.2 Post-Islamic Turkish Music……..…………..………………………..10
1.2.1 Mehter Bands………………..………….……………………………11
1.3 Contemporary Post-Republic Turkish Music…………..…………...13
2 Instruments of Turkish Origin…………...………………………….14
2.1 String Instruments………………………..…………………………...14
2.2 Wind Instruments……………………..……………………………….18
2.3 Idiophones…………………………..………………………………….21
2.4 Membranophones……………….………....…………………………22
3 Darabuka – a Traditional Turkish Drum……..…………………….25
3.1 Types of Darabuka……….………………….………………………..26
3.2 Darabuka Playing Techniques…………….………………………...28
3.3 Rhythms……………….………………….……………………………29
3.4 Famous Darabuka Players……..……….……………………………38
4 Contemporary and Popular Turkish Music……….….…………..42
4.1 Historical Overview of the Modern Artificial Music…..…………….42
4.2 Famous Turkish Contemporary Composers……….………………42
4.3 Pop Music….………………………………………….……………….47
4.4 Famous Pop Singers…………………………….…………………...48
Conclusion………………………………………………………………..53
Appendices………………………………………………………………..55
Summary…………………………………………………………………..57
Bibliography………………………………………………………………58
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1. Introduction
The world of Turkish Music had developed through the centuries, until it has reached the
point known nowadays without losing its original character and diversity. Traditional
instruments, as well as rhythms and melodies, are well recognized by the young in modern
Turkish culture. It is extremely fascinating how, in the age of globalization, Turks are
stressing their own origins and musical styles. Their music is recognized all over the world,
it is very rhythmical, mostly joyful, having great variation of instruments, that are not used
in European music.
Traditional Turkish music was shaped under the influence of folk tunes brought by
peoples who came from Middle Asia. Great impact on it has as well music of the nations
conquered by Turks and Islam religion. Classical Turkish music developed around 17th-18th
century and was cultivated in Istanbul till 20th century. It was a monody with a rich
melodious style and varied scale. Traditional asymmetrical rhythms were popular. On top of
rich vocal culture, there was as well broad instrumental music interest. Classical instruments
were usually similar to the one of Near East: lutes with short or long neck, bow instruments,
cymbals, flutes and percussion instruments.
Important musical centers were hubs where Quran was declaimed or sung and called to
payers and dances were practices (like Dervish dancing to an improvised instrumental
music).
Folk music from the other hand remained with an important marks of Turkmens (Turks
who came from Asia). It has monodious melody, usually down-motioned, with
accompaniment of a bass sound. There are long folk songs, short lively ones, there are as
well more specific ones like ballads, love songs or many dance melodies. Traditional
Turkish dances are usually quite demanding – number of steps and tempo are high. People
are dancing with folk songs accompaniment in a semicircle with a person at front holding a
white handkerchief. In the folk music percussion instruments play a great role. Connected
with a kind of oboes and flutes, they create very specific style.
Many of Turkish instrument, like kettledrums or zurna spread all around the world.
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Professional music was started in the court, where musical skills were passed from
musical masters to their students. Mehter – army music – played an important role until
1826. Then, Giuseppe Donizetti started in Istanbul Europe-like orchestra.
Nowadays, in Turkey are many music conservatories, operas, musical theatres and others.
Music plays a great role in Turkish culture, the rhythms are recognized well. Even on a
discotheque when the certain rhythms are played, one can see that young people know
traditional moves that are performed to those rhythms.
Having such rich musical culture, Turkey is perfect object to take a closer look at and
learn about its great musical world in details. Broad history and long development of
Turkish music tempt to discover its colors. But probably the most fascinating for an
European musicologist are the instruments. The variety of them in Turkey is wide, with
some of them existing only there. The primary focus of one the following chapters will be
Darabuka. Naturally, history and cultural background has to be depicted as well.
I have chosen the topic of Turkish Music, because I’m personally connected with their
culture. My husband is of Turkish origin and every year, we spend some time in Turkey
travelling and learning about the country. Music of Turkey is especially fascinating for me,
because even before going to Turkey for the first time, I was belly-dancing. I managed to
receive faculties of belly-dance teacher and during the course I have learned many
fascinating information about oriental cultures.
Turkish culture is not well-known in Europe, so hopefully my thesis will help some
teachers to picture this beautiful world of music colorfully. I think that this music can be
interesting for the pupils, because it is sometimes very lively and rhythmic. Simple
instruments play as well a great role in Turkish music, so during the lecture children may be
given for example simple tambourine, which is similar to Turkish def, or flute which is
similar to Turkish mey, or wooden spoons- kaşık.
In the first chapter I would like to introduce historical background of a Turkish music,
and its development through the centuries. In the second chapter Turkish traditional
instruments will be described and in the third chapter darabuka – famous drum will be
described more in details. In the fourth chapter focus will be paid to the contemporary and
pop music as well as the artificial music composers and pop singers.
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Great part of the sources were collected during my stay in Istanbul – in the heart of the
city is a Borusan Music Library with many fascinating books written in mostly in Turkish
but as well in English. Probably the most interesting and extensive work about Turkish
Culture is “The Music Makers in Turkey” written by Ahmet Say. This book covers all the
possible aspects of music – from the Historical point of view, through some history and
instruments to ballet, opera, ensembles, choirs, popular music, jazz music and other styles. It
is simply amazing to read about all this wonderful and varied puzzles that come into one
picture of the nation. Another publications that were rich in information important for my
thesis are: “Turkish Bands of Past and Present” written by Pars Tuğlacı, “Magnificent
Ottoman Composers” written by written by Boyut Publishing Group and “Meanings in
Turkish Musical Culture” written by Eugenia Popescu-Judetz.
“Turkish Bands of Past and Present” helped me the most with the information about
Mehter – military band, which I have written about in chapter I and described their
instruments in chapter III. The book focuses in depth on Turkish Bands from the great
historical perspective.
The other book that was rich in information was “Magnificent Ottoman Composers”. It
consists of historical view, description of chosen Ottoman Composers and glossary of words
of Turkish origin. From this book, the most interesting for me was the introduction and the
glossary, which enclosed me some crucial terms. It describes as well how Turkey managed
to preserve their own cultural traditions, acquiring at the same time Western culture.
Next book important for my thesis is Eugenia Popescu-Judetz’s “Meanings in Turkish
Musical Culture”. The author is specialist on music from the Ottoman period. In her book,
she deals with music reflected through thought, form and the musical theory and the culture.
During the creative process of writing, I have taken as well the missing information from
the internet. The best source of them was turkishmusicportal.org, where I have found many
interesting articles written by experts on Turkish Music.
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2. Historical Background
History and development of music is very important for the understanding of the musical
culture as a whole. Therefore in this chapter, basic historical background of Turkish music
will be introduced.
Sources and biographies providing information about roots and creators of Turkish
musical culture are greatly limited. Moreover, those limited sources undergone some
changes in their structure and quality over the ages, so it is really difficult to estimate
whether the source still says what was originally written, and can reflect pure, original
quality. It has to be noted as well, that the sounds originally were not written into scores, but
were passed on through generations in a memorized verbal form. The style of musical works
was developing through the ages to reach the status known nowadays. On the other hand,
those changes are not detectable, because of not knowing the original form. History pictured
in writing covers only the last fifteen decades. The understanding and feeling of the music
changed rapidly when the music started to be written down – now, having certain forms and
principles, the music of the ancestors stopped evaluating, nothing else is being added from
the players, it should always sound the same or similar. Different than original senses are
being used during the performance. 1
What can be added on top of those uncertainties is the influence on the Turkish Music by
the regions and subcultures. Moreover, some archeological digs in Central Asia revealed,
that already Huns, Göktürks and Uyghurs had well-developed musical culture.
Turkish musical history can be divided into three main periods:
1.
Pre-Islamic Turkish music (around 8th to 9th century)
2.
Post-Islamic Turkish music (around 10th to 20th century)
3.
Contemporary Post-Republic Turkish music. 2 (from 1923 proclamation of the
“Republic of Turkey” till nowadays)
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2.1. Pre-Islamic Turkish music
Turkic* tribes such as Huns, Uyghurs and Göktürks are ancestors of modern Turkish
people. There is not much information available on their music, but one can learn some
details from their lives.
Huns were nomadic people who are most famous of their ruler Attila. He established
their power all over the world. The tribe originated from east of the Volga River, migrated to
Caucasus and then to Europe by 370 AD. In 447 Huns invaded Balkan Thrace including
Constantinople (nowadays Istanbul), that already suffered on that time series of earthquakes
and riots. Peace of Anatolius was signed in 449, wars between Huns and Romans were
ended. Göktürks were the first tribe to use the word “Turk” in political purposes. The name
derives from Chinese “Tujue”, which has connotations with “strong” and “powerful”.
Göktürks controlled broad area, and made contact with many other cultures, including
Persia. It is known that cultural concepts were moved between those areas. What is known is
that the music played crucial role on the social life already during times of Alexander the
Great (356-323 B.C.). 360 drums were beaten every day, drums and horns were used during
the battle. After number 9 have been considered lucky by Turkmens, bands consisted of nine
of each instrument. This “rule of nine” spread further, until it reached Ottomans. 3
Other extremely significant influences on Turkish music, different than Asian roots, are
the ones, that grew from contacts with other peoples in Anatolia. In those ancient times
music was something sacred with special significance, being used for religious and social
functions and illustrating the life.
Instruments were designed to be carried during travels in migratory lifestyle. Being
simple, they could have produced natural tones. The melody as such, was not paid great
attention to, the lyrics played main role. Some musicologists consider Turkish music as
lyrical. Oral literature in the early periods was greatly developed, and to give it more
understanding music was added to accompany the words. Probably the first instruments, that
had great social value, were drums. Used by religious figures such as Shamans, Kames and
Baksi, drums were helping them to reach greater influence for their people.
*“Turkic” is a name for nomadic people who in the 6th century founded an empire stretching from what is now Mongolia
and the northern frontier of China to the Black Sea”.
9
Around 8th and 9th century a new type of accompaniment emerged – kopuz. People who
brought this instrument, as well as new traditions and song genres were Ozans – one of the
Turkic tribes.4
What also states the importance of the instruments, but especially drums, is that in the
Middle Ages, symbols of sovereignty, were flags, horsetails and drums. Drums and horns
were continually played on multiple official and non-official occasions.
2.2.Post-Islamic Turkish music
Uyghurs were later Turkic peoples, who adopted Islam.
5
All the mentioned tribes had
their unique notation systems, broad musical repertoire and variety of instruments they were
using.
In 11th century, Islamic Seljuks started expanding to eastern Anatolia. After adopting
Islam by Seljuks, position of music in Turkish life rapidly developed and became more
diverse. The most important change that was brought with a new religion was acquiring a
new musical system – makam. Makam is a word of Arabic origin ‫ م قام‬and it means “to
stand”. It is a set of rules for composition and performance, that became the most important
concept in Ottoman-Turkish music. It is very complex phenomenon where theoretical
definition and practice are not always the same. Theory in this case is generalization, a
framework, or even a limitation for the performer, whereas practice gives the main character
of the performance and adds some points that are not included in the theoretical part. What
may be surprising from the point of the Western musical theory is that rhythm has a
secondary importance or may be not even fixed.
As a first step, makam is defined by its scale and eventual upper and lower extensions.
But this is only 10% of the performance. Other 90% is melodic development, which is
giving the actual taste. In this system one whole tone is shared into 9 parts (see picture 1). In
western notation C is called the same, regardless to the octave it is played. In Turkish system
most of the notes have individual names (see picture 2). Moreover, makams are built of
10
tetrachord and pentachord (used interchangeably).6
Picture 1
At the times of Seljuks, ruling from around 1016 to 1153, music was of the high
importance. Band, called back then “Nevbet”, was playing when Sultan was mounting and
dismounting from a horse. Darabuka was played three times a day at prayers. Instruments,
such as davul, zurna (double reed wind instrument), nakkare, nefir (a kind of flute) were
played on the special ceremonies, whereas typically folk music was based only on davul and
zurna.
After the decline of Seljuk dynasty, Ottoman Empire came to power. Giyaseddin Mesud
II, the last Seljuk emperor handed the Osman Bey – founder of the Ottoman Empire – tug,
flag, horn, cymbal and drum, the symbols of sovereignty. Military bands, were named
“Mehter Bands”.7
2.2.1. Mehter Bands
Mehter bands have their roots already before 8 th century. On that time the musical band
was called “Tug”. The instruments being used on that time were: kös (big drum), davul
(double-headed drum), zil (cymbal) and nakkare (kettledrum). Davul was the instrument that
was used already by ancient Turks.
Mehter, which is the oldest known military band in the world history, was an Ottoman
military music band. Topic is so broad and spreading through most of the musical history of
Turkey, that it should be treated separately. Its tradition was started by Sultan Osman Bey
(1258–1326) who ordered the music to be played during the battles, military and state
occasions with religious overtone, and some entertainment activities. 8 Osman Bey started the
tradition of rising on the feet when the drums were played to show his respect to the
11
powerful music. First known mention about the repertoire is when a great Turkish musician
Abdulkadir Meragi composed a Mehter march for the Turkish army during the reign of
Yildrim Bayezid Khan (reign 1389 to 1402). Other known early composers are those living
in 16th century: Nefiri Bahram Agha and Emir-I Haj. The biggest development was at the
time of Murad I (ruling 1360 –1389), when mehter became a military institution subsidiary
to Janissary corps. This tradition continued till Sultan Mehmed II the Conqueror (1432–
1481).9
“Turkish history is known with military achievements and victories worldwide. The
historical tradition of supporting military campaigns with imposing drums and special
rhythms were continued in the armies of many Turkish states in the timeframe from the Huns
to present.”10
During the reign of Mehmed II the Conqueror, Mehter bands undergone extensive
development. “In the expansionist period the sound of mehter was a voice of terror to the
non-Muslim peoples and a cry of awe for the entire population.”11
Growth of the bands was started from primitive horns and drums played in the eighth and
ninth centuries, through eleventh century, when they consisted of kos, davul, boru and zil,
till twelfth century, when wind instrument Nay-I Turki was added and bands reached their
present form.12
The organization of the band was partly influenced by medieval ahiler organization and
the ceremonials of the dervish fraternities. Ahi organization emerged around 13th century,
when Ahi Evren – a Muslim preacher – came to Anatolia after escaping Mongols. It was
religious and commercial fraternity of craftsmen working in the city. They set quality of
standards, hours and training in their perfect organization. Dervish are known till nowadays
from their practice of whirling dances and vigorous chanting. Not only focusing on music,
Dervish undergone a harsh discipline and had to follow many orders.12
Not only being influenced by predecessors, but as well influencing posterity, Mehter
music had a great impact for other areas of music, as well as for everyday life. For example
traditional Turkish drums, davuls and zurnas were played at weddings. Musicians, not only
performing instrumental music, were as well singing, reciting, marching in their rich
costumes and having paraphernalia. “All together the mehter act of performance has been a
forceful spectacle of majesty and grandiloquence matching only that of the ancient
theatres”.13
12
Mehter music was available for all social spheres and communities in opposite to other
types of music. For example folk music was played only amongst countrymen, Classic
Muziki was available only for higher social classes. Dervish works at the time were available
only for the fraternity. “The mehter bands appeared at holiday festivities, played at bayrams
and weddings serving the communities.”14 Their repertoire consisted not only of marches,
but as well of dances and even folk melodies.
2.3.Contemporary Post-republic Turkish music
The 20th century is the time, when Turks started to be influenced by western music –
education, rhythms and notation system has changed. Nevertheless, musical culture kept its
distinct character. Folk music, for example, came forward and gained its momentum.
Contemporary and pop music will be discussed more in details in chapter four (see page 37).
1.
2.
3.
4.
5.
6.
7.
Boyut Publishing Group, Magnificent Ottoman Composers- Ottoman Sounds (Istanbul: Boyut
Music), p.4-5
Çetin Körükçü, Turkish Music Portal,
http://www.turkishmusicportal.org/history.php?id=1&lang2=en
Pars Tuğlacı, Turkish Bands of Past and Present (Istanbul: Cem Yayınevi, 1986).
Invictus, Online History Community, The Huns 2001
http://www.allempires.com/article/index.php?q=huns,
Saylor - Free Education, New World Encyclopedia, 2008
Çetin Körükçü, Turkish Music Portal,
http://www.turkishmusicportal.org/history.php?id=1&lang2=en
Dr.Bülent Aksoy, Turkish Music Portal,
http://www.turkishmusicportal.org/print.php?id=47&cat=history&lang2=en,
Cinuçen Tanrıkorur, USA, 1994 http://www.youtube.com/watch?v=HMgpJXK--TE,
Makam, Wikipedia, http://en.wikipedia.org/wiki/Makam
Eugenia Popescu-Judetz, Meanings in Turkish Musical Culture (Istanbul: Pan Yayıncılık, 1996),
p. 49
8. Popescu-Judetz, Meanings, p.53
9. Tuğlacı, Turkish Bands, p.4
10. Turkish Armed Forces, Mehter
http://www.tsk.tr/ing/2_general_issues/2_1_military_museum/mehter/mehter_general_informatio
n.htm
11. Eugenia Popescu, Military Music, http://www.turkishmusicportal.org/page.php?id=31&lang2=en
12. Tuğlacı, Turkish Bands, p.3
13. Niki Gamm, Turkish Language Class, 2011 http://www.turkishclass.com/forumTitle_51761
13
3. Instruments of Turkish Origin
To understand Turkish Music, essential is to know at least the basic information about
traditional Turkish instruments. The roots of some of them, like Tar or Kaşık, reach till the
ancient Anatolian. Other sources of the music and instruments can be found in Seljuk Turks,
who inhabited the region of modern Turkey in the 11th century. Mehter Bands, which existed
from around 16th century, are as well extremely important for the music development – they
were the first marching bands in the world, bringing a lot of traditions and instrument. After
the Republic of Turkey was established in 1923, Western accents were added. Nowadays
musical culture of Turkey is wonderfully rich and varied field.
Turkish instruments can be divided into:
String Instruments:
Bağlama, Ud, Cümbüş, Çifte, Kanun, Kabak Kemane, Tanbur, Kemençe, Lavta,
Santur, Tar
Wind Instruments:
Kaval, Ney, Zurna, Mey, Sipsi, Tulum
Idiophones:
Çalpara, Kaşık, Zil
Membranophones:
Davul, Def, Kudüm1
3.1.String Instruments
Bağlama (or Saz) is the most popular
string folk instrument used in Turkey.
The length is usually around 110cm. It
has 25 pitches and 7 strings with ambitus
of 2 octaves. There are three main parts of
this instrument: tekne – body, gögüs –
soundboard and sap – neck. Body is
usually made of mulberry, hornbeam and
fir tree. Soundboard, which is the top of
the Bağlama is most often made of spruce
Picture 2
14
and the neck is made of juniper. At the end of the neck, there are screws called burgu, which
regulate the tension of strings for tuning. The sizes and names of Bağlama family differs
according to the regions. From the Bağlama family, predominantly played are : Divam Sazi,
Bağlama, Tanbura and Cura. The biggest amongst the group is Divam Sazi. It has nine
strings divided into three group that are tuned with lowest pitch from the family. Bağlama
has a size between Divam Sazi and Tanbura. Frets are made of tied fish line. Tanbura is
smaller that Bağlama and gives a pitch octave higher than it. Cura is the smallest plectrum
string instrument from this family. Because of its popularity, it has variety of names, for
example : dede sazi, parmak cura etc.2
The way of playing on Bağlama is as well region depended. Despite being usually played
with plectrum, in some places it is played with fingers plucking the strings, or sometimes
tapping them. Being extremely popular, this instrument is often used to accompany Turku
songs, that are folk songs widely known by Turks.3
Ud (or Oud) is crescent-like shaped plucked
string instrument. It is immensely popular in
many countries on Middle East, North Africa,
Balkans and Arabia. It has four parts: large body,
which is made of 19 slices of hard wood without
much decoration (mahogany, walnut, horn beam),
chest made of pine, short handle made of horn
beam or walnut and pegs. Peg head is attached on
45 degrees towards the handle and forms S shape
where pegs are attached. Length of Ud is
Picture 3
around 70-75cm. Five double and one single
strings are tuned into G (single) D A E D A. Some players use a plectrum, but generally is
played by fingers in similar way to guitar, of which Ud is probable ancestor. 4
Cümbüş is a banjo-like string instrument invented in
1930 in Istanbul by Zeynel Abidin. It consists of body,
which reminds of metal bowl covered by plastic
membrane screwed around the rim, and neck. Neck is
one of the biggest peculiarities amongst string
15
Picture 4
instrument, because it can be removed easily and changed into another type. Basically
cümbüş is fretless, but there existing types of neck that are produced with frets. 12 metal
strings are divided into twos and tuned in perfect fourth from each other. Having many
similarities to Ud, cümbüş is played with the same technique.5
Kanun is a very important plucked instrument in Turkish music. It consists of resonance
box shaped into trapezoid
with around 25-30 tripled
strings, made of nylon or
silk, attached to it. While
playing, the instrument is
placed in front of the
musician – either on table
or on the laps. Plectrum is
Picture 5
originally made of turtle
shell. It is either kept in hand or attached by a metal piece to index fingers of both palms.
Changing of the tune into flat or sharp is obtained through turning of levers, which are called
in Turkish “mandals”. Turkish Kanun is usually 95 to 100cm long, 38 to 40cm wide and 4 to
6 cm high. Chest generally made of plane tree and back of lime wood. Pegs are made of
some hard wood.6
Kabak Kemane is a bow instrument commonly used
in area of Aegean sea in Turkey. Probably the most
interesting fact about this instrument is the material
used for production. Tekne – body is originally made of
water gourd, which is seeded and grounded till eligible
form. Nowadays, the gourd is sometimes replaced by
wood, but makers of this
Picture 6
instrument tend to follow the original way of
production. Strings were made of guts, but with the time they were replaced with the metal
equivalent. Sap – handle is made of hard wood. On the bottom of the body there is place an
end pin which helps to keep the instrument on the knee. Bow is made of wood with
horsehair stretched between the ends. Kabak Kemane has no pitches, so it is able to produce
16
all types of chromatic sounds easily. Its tuning is D-A-D-G and it has ambitus of two till two
and a half octaves.7
Tanbur is a lute-like instrument with a very long neck and small body. Its roots reach
Ottoman courts, where classical music was played. Because of its soft sound in never saw a
sunlight, being used only in chambers. Body consists of 20-25 wooden ribs thin and round in
shape. To a neck, made usually of juniper wood are attached 6 friction pegs (4 in front, 2 on
the left side). Strings are grouped into three groups of doubles and one string on the bottom.
Number of frets is really great – this fact reflects Turkish classical theory, where single
interval is divided into nine parts. In Tanbur one fret is mostly one fourth of interval.
Instrument is held on the knee and usually played
with plectrum, but occasionally as well with bow.
What makes it even more special is that there is no
Picture 7
equivalent instrument nowhere in the world.8
Kemençe it is an eastern Black Sea region string
instrument. The name “kemençe” means in Turkish
a “small bow”. Its shape is longitudal, measuring
around 55-60cm. Kemençe consists of body made of
plum, mulberry, walnut or juniper, neck and peg
holder. It is played with bow called Yay, being held
in right hand, while the instrument is usually placed
(sometimes held in the air) on the knee and kept
Picture 8
with left hand. It has 3 strings, made of steel, that are
tuned into fourths. Ambitus is about one octave.9
Lavta is a kind of short lute plucked with plectrum. It was
invented in Istanbul, and during early 20th century was
immensely popular. Around 1930, it was replaced by Ud, but then
gained back its popularity in 1980s. Lavta measures around 75cm,
and consists of body, that is made of many ribs, pegbox, and
17
Picture 9
guitar-like neck. Pegbox is attached to the neck with 45 degree angle, bending backwards.
There are 3 pegs on the right, and 4 pegs on the left side of the pegbox. Intervals are
microtonal, which reflects makam – musical theory system. Other peculiarity about this
instrument, is that the bridge is mustache shaped. 10
Santur is a very old Turkish hammered dulcimer,
which changed it form remarkably. It is trapezoidshaped resonating box, with strings attached to it.
Mostly it covers around 3 octaves. The way of playing
it, is by striking with two mallets. Very little of
original Ottoman Santurs survived till nowadays, and
the ones that did remain are identical – they differ in
Picture 11
the shape and in the number of
strings.11
Tar is a string instrument that is made of two mulberry bowls stuck
with each other forming and eight-shape, covered with a leather top
with neck and strings. The instrument has been invented by early
Anatolian civilization, and its popular till nowadays in the region of
eastern Anatolia, mainly in Kars. It is played with plectrum, called
tazene. Membrane is usually made of cattle’s heart. Pitches are marked
with fish line. It is often used for Halay – dance of celebration.12
Picture 12
3.2.Wind Instruments
Kaval is probably the most varied
instrument in Turkish folk music. It
has no standardized size nor the
material that it is made of – it may be
wood, reed or metal. Traditionally
though it is made of wood – plum,
apricot or bow wood. What all kavals
Picture 13
have in common is that they are a tube
of wood, usually without any additional reed, with seven melody keys on the front and one
under. No matter what length, it has from two and a half to three octaves. Diameter is
18
approximately 1,5cm. Length of kaval varies from 30cm to 90cm. The shortest flute has its
own name – Duduk. The legend connected with this simple instrument is that n old times
shepherds were playing Kaval for their sheep drove to coerce animals to follow them.13
Ney is a simple, and probably one of the oldest instruments which is still in use. It is
made of hollowed out river cane and special brass mouth piece to
protect the reed. It has seven whole, from which one is places
underneath and covered with thumb. Semitone interval is gained
by covering the wholes, but it is possible to gain smaller interval
(like one fourth of full tone) by partial hole covering or changing
Picture 14
the angle of the flute. In Turkey long Neys are more popular,
because of their graver sound, but many sizes are available.14
Zurna is famous Turkish oboe-like, double
reed instrument, which was the first melody
instrument of Mehter (Ottoman military
band). It was designed to be played outdoors,
because of its loud and clear sound.
“The zurna is made up of the following
parts: The wooden body (gövde), the reed
(kamis), a round piece resembling a button,
called the avurtlak, and the staple (metef or
metem), to which the reed is attached.”
Picture 15
Wood used for production of this instrument is usually plum, apricot, box wood, ash tree
or pear tree. It is carved by lathe to gain a special coniform shape. Zurna’s body has seven
holes on top and one hole underneath for the thumb. Additionally, it has seven smaller holes
at the end, which can be covered by wax to reach a fine tuning that suits the player. Those
small holes are called in Turkish “şeytan deliği” – devil’s holes or “cin deliği” genie’s
holes.15
It has quite simple structure, but playing it requires great skills. One of the reason it is
being difficult to play on is that it requires circular breathing. Circular breathing is technique
19
which produces continuous airflow by inhaling through the nose, while simultaneously
pushing the air through the mouth.
Nowadays it is often played on any kinds of celebrations, like weddings circumcisions
etc. Interesting fact is, that the size changes from west to east – having deeper sound and
around 60cm of length and shrinking for around 30cm and higher sound on east.16
Mey is a double reed flute-like instrument with silent and soft voice played usually
indoor. It has longitudal, cylindrical body,
measuring from 26 to 40cm, with eight holes.
Seven holes are used for the fingers and one
for the thumb. It consists of main body made
of plum, walnut beech etc., reed and kıskaç –
clip to keep reed flat. What makes this
instrument special is its mouth piece. It is
made of cane long and large in size, reaching
Picture 16
from 10 to 14 cm. Mouth end is flattened.
Thanks to this reed shape, Mey produces a low
a mellow sound that can reach only up to one octave. It is played almost exclusively on in
Eastern Anatolia region.17
Sipsi is a single reed pipe, usually made
of reed, which is popular mostly on the
Aegean region. Other materials that can be
used for its production are bone or wood. It
consists of two parts: bigger and smaller –
which is put inside of the bigger one and
serves as a mouthpiece. On top, there are
five finger holes, and underneath there is
one thumb hole. Ambitus of this instrument is around 1,5 octaves. To
Picture 17
produce the uninterrupted sound, players usually used a circular breathing method. 18
20
Tulum is Turkish type of a bag pipe. “Tulum” in Turkish means simply “bag”. It is very
popular on the Black Sea region. Body is made of
goat skin turned inside out. Two pipes are adhered to
the protruding leg parts. One is called “Çifte Tulum”,
and is designed to produce a sound, second one
called “Lülük Tulum”, is to blow the air from the
mouth into the bag. Çifte Tulum has 5 pitches and
Picture 18
around 24cm of length. The sound is produced by
pressing the bag fulfilled with air, which forwards it
to the pipe.19
Çifte is a wind instrument that consists of two pipes bound
together side by side. There are as well two reeds at the end of
each of them that are blown at the same time. Two types of Çifte
exist : Demsiz and Demli Çifte. In Demsiz Çifte both pipes have
Picture 10
around 5-6 holes and play the melody. In Demli Çifte one pipe is designed for the melody,
whereas the other produces only the background without a pitch. It is made of eagle wing
bone, which is empty inside, walnut wood and reed.20
3.3.Idiophones
Çalpara is a Turkish wooden clapper. It is very simple percussion instrument, usually
made of box wood. The wood is shaped into a flat, slim, oblong piece measuring around 2025cm. On both flat sides of the clapper, on the upper part, there are another flat wooden
pieces, fastened loosely with rope. Player, brandishing the instrument and beating it against
the palm or thigh, produces a clapping, regular sound.21
Kaşık is another wonderful in its simplicity Turkish percussion
instrument. Kaşık are simply wooden meal spoons that are traditionally
used as well for the folk dances usually in central Anatolia. To play they
Picture 19
are kept in hand with their backs facing each other.22
Zil – Turkish cymbals that gained
popularity all over the world. Originally they
were used in Mehter music. Zil is a plate-
21
Picture 20
shaped cymbal made of beaten copper and additional mines, that has around 30cm of
diameter. To produce a high ringing sound, player has to collide two Zils together. They are
kept by leather strap which is put around the middle finger. There are two ways of playing:
horizontal and vertical. Nowadays, however vertical way of playing is more popular.23
3.4.Membranophones:
Davul is the oldest, the most characteristic, and most
widely played percussion instrument in Turkey. It is
round in shape, and consists of three parts: frame, made
of wood, two membranes made of hide, right side hide is
thicker, left side is thinner, and silk twine tying up both
membranes.
Because of its heavy weight, during performances, the
drum is carried on the leather strap hung to the arm. One
side of the drum is beaten by a right hand holding a
wooden mallet which produces a deep, bass sound.
Picture 21
The other side is knocked with a thin switch held in the left hand, and this movement
produces a higher, brighter sound. The variety of sounds produces by davul enables to play
many sophisticated rhythm patterns.
“Among the ancient Turks davul was known as the koburga, kuvrugh, tugh, tavul, tuvil
and tabil”. This drum is played on the villages by local or Roma musicians during wedding,
folk dances and other feasts, and in the towns by Mehter bands. An interesting fact is that
Mehter musicians used the rhythms to convey messages on the battlefield.24
Def is what is widely known in Europe as tambourine. It is very simple in its structure
percussion instrument. What may be surprising is that
playing it properly in faster tempo turns out being
difficult. It consists of a shallow hoop and single piece of
hide that is stretched over it and fastened by a metal rim. It
is often, but not always, produced with a small metal
cymbals mounted inside of gaps in the frame. Def can
22
Picture 22
have a diameter from 20 to 40cm, so many sizes and timbres of Def exist. While playing, it
is held in one hand and hit with another.25
Kudüm is a hemispherical, bowl-like kettle drum. It consists of two pots made of beaten
copper, covered with camel skin. On one of them, skin is thinner to produce higher sound.
Diameter of Kudüm varies from 22 to
30cm. It is around 16cm high. It is
placed on special cushion to keep it
stable and to avoid muffling of the
sound. Both parts are played with a softwood sticks called in Turkish “Zahme”.
On the left side there is a high pitched
drum called “tek” and on the right side
there is drum called “dum” that sounds
Picture 23
lower. Used in Mehter – “In the mounted
mehter, the nakkare was lashed to the front of the saddle and when played on foot it was tied
to the waist. Today, when it is played, it is held between the left arm and shoulder.”26
1) Ahmet Say, The Music makers in Turkey, Ankara: Music Encyclopedia Publications, 1995, p.22
2) Sansal, Burak. “Musical instruments of Turkey.”All about Turkey 7 November 2012. 10 April 2013
http://www.allaboutturkey.com/muzikalet.htm
3) “Middle East.”Atlas of Plucked Instruments 1 January 2013. 10 April 2013
http://www.atlasofpluckedinstruments.com/middle_east.htm
4) Center for South Asian and Middle Eastern Studies, Illinois. Musical Instruments of Turkey.
5) “Middle East.”Atlas of Plucked Instruments 1 January 2013. 10 April 2013
http://www.atlasofpluckedinstruments.com/middle_east.htm
6) Say, The Music Makers, p.29
http://www.allaboutturkey.com/muzikalet.htm#kemence
12) “Turkish Folk Instruments.” Big Love Turkey 16 April 2012. 10 April 2013
http://bigloveturkey.com/culture/musical-instruments-tar.asp
23
http://www.allaboutturkey.com/muzikalet.htm#sipsi
http://www.allaboutturkey.com/muzikalet.htm#sipsi
23) Pars Tuğlacı, Turkish Bands of Past and Present (Istanbul: Cem Yayınevi, 1986), p. 47
24) Boyut Music, Ottoman Sounds, Istanbul: Boyut Publishing Group. p. 14
26) Tuğlacı, Turkish Bands, p.46
24
4. Darabuka – a traditional Turkish drum
Darabuka is known under many names: Darbuka, Doumbek, Darbouka, Derbouka,
Tablah, Dombak, Darbukka, Dombak, Tombak, Deblek, Gedombak, Khalouze, Tarbuka,
Tarija etc.1 I have chosen the name Darabuka to use in this work, because it is world-wide
popular and understood word, among darabuka players and people not interested in this
topic. This goblet-like shaped drum is associated with Mediterranean, Middle Eastern and
Islamic music and culture. Traditionally, darabuka was played in Egypt, Armenia and
Turkey. Having a sharp sound, it is easily recognizable all around the world. But not many
people know, that, being popular in many countries, it has various sizes, materials it is made
of, and the technique of playing it.
The history of darabuka reaches ancient civilizations
and it develops constantly till modern times. Its original
form made of clay and goat skin is primitive, and it is not
documented when the goblet drums were first made. The
first appearance of darabuka-like drum, that survived till
nowadays was on plaque made around 1100 BC and it
shows direct prototype called “Lilis” (see picture). The
plaque is now in
the British Museum
Picture 24
in London.2
Other source that pictures playing on darabuka
comes from the “Cantigas de Santa Maria”, written
by Alfonso X El Sabio (King of Castile and León). It
is a collection of monophonic songs, embellished
with wonderful pictures. One of the pictures shows a
woman playing a goblet-shape drum.3
Picture 25
25
4.1
Types of Darabuka
Darabuka is reflecting an hourglass shape. Its body can be made of nickel, copper,
ceramic, compressed aluminium4, clay, wood or fiberglass. Its head can be made of natural
skin- that of goat or fish, but nowadays it is usually made of synthetics. 5 The most popular
size is around 45cm and 25cm head diameter.6 Darabuka has main three sizes: tabla (solo),
sombati and dohola (bass),7 and main three types: Turkish, Egyptian and ceramic darabuka.
Turkish darabuka has metal body and the rim that is
fastened to the body with screws.8 It is lightweight and
therefore easy to carry. Some of the drummers say that it
may be even too light, because when they struck with
big energy, they have to keep it carefully with the arm,
so that the drum does not fall. The sound is warm, with
deep bass. Because of metal bolts, and quite sharp rim,
Turkish darabuka may be quite hard to play for the
beginners.9 Turkish style of playing is light and with
Picture 26
many ornaments.10 The shape of the body enables a
player to do the “snaps” - movement similar to snapping
one’s fingers, but in this case the finger hits the membrane. From the other hand this shape
hampers to perform the rolls- movement similar to pattering the fingers against the table. 11
Egyptian darabuka has 6 metal bolts inside. Its body is
made of aluminium and it is covered with plastic head. The
sound is balanced- high and low tones harmonize. The style of
Egyptian players is quite strong and energetic. 12 Rounded
edges, in opposite to Turkish darabuka, unable a player to
perform snaps, but are perfect to perform rolls. This type is
heavier than Turkish darabuka.13
Picture 27
Ceramic darabuka has
warm beautiful tones. Because of its rounded shape, it
is easier to learn and perform high-toned slaps.
26
Picture 28
However, it is fragile and the goat or fish skin membrane can be easily affected by weather
and become out of tune.14 Ceramic darabuka had its revival and came back to the stage
mostly through Mısırlı Ahmet (a Turkish virtuoso darabuka player).
On top of the national features, darabukas have wonderful embellishments.
More traditional style darabukas:
Picture 29
27
Modern style darabukas
Picture 30
Companies producing darabuka are for example Emin, Gawharet El Fan, Alexandria,
Remo, Meinl and Masterwork. Interesting fact about them is that only Emin is Turkish
company, and Gawharet El Fan is Egyptian. The remaining companies are European ones,
producing modern instruments for professional players.15
4.2
Darabuka Playing Techniques
Darabuka has a great variety of sounds. Basic tones are Dum (bass sound) and Tek
(higher sound). While playing, the drum is held under the arm of a standing player or on the
left lap heading towards player’s knee. Beginner has to focus most of all on the tempo,
precision of the sounds and accents. Advanced players have much more to master: finger
rolls, slaps, split finger technique and others. Probably the most interesting skill for the
drummer is “separation of senses” – situation, when left hand and right hand are playing
different rhythms or variations. After having worked on a good technique, player can easily
express his feeling and emotions while drumming.16
Player has to take care about proper maintenance of the instrument. Especially when
darabuka is made of natural materials, it cannot be exposed into hard weather conditions, as
high heat, air pollution and high humidity. The drum (especially head) has to be cleaned as
well after every performance.17
Important part of some darabuka players’ careers is accompanying belly dancers. Such
job is as well quite demanding. Player has to learn signals coming from the dancer – when to
28
speed up or slow down the tempo, change rhythm or have a break. Musician should as well
stay focused on the basic rhythm, at least for couple of first tact, so that the dancer can
recognize the rhythm and perform proper movement and style connected with it. Probably
the most difficult for both – player and dancer – is drum solo, when the rhythm is fast, with
many ornaments and fulfilling. Because of its tight connection with belly dancing, darabuka
is called as well belly dance drum.18
4.3
Rhythms
Rhythms are the essence of darabuka playing. No performer would reach their mastery
without knowing them. Nowadays, all the rhythms are played with approximately same
significance, no matter where in the world. Besides couple of them, it is difficult to estimate
certainly, whether one rhythm is of Turkish, second of Arabic and the other one of Indian
origin.
The source of the following examples is the lecture I’ve attended during Belly Dance
workshops with Jasmin Mazloum – famous Syrian belly dancer, whose passion are rhythms.
Reflecting the oriental rhythms in western notation may be difficult to read, therefore in
the world of darabuka players, there are other systems of reflecting the rhythm used.
Probably, the most popular is a rhythmical “timeline”.
The crucial parts of the rhythm performing are:
D Dum – bass beat performed on the middle of the drum with right hand with open,
stretched fingers.
T Tek – higher beat performed on the edge of the drum with the ends of the right hand’s
fingers.
K Ka – higher beat performed on the edge of the drum with the ends of the left hand’s
fingers it sound the same as Tek.
–
– holding of the tone
_
– break
.
– shortening of the tone
P Pop – muffled Ka
29
S Slap – accented Tek
R Finger roll – fast beating with separated three fingers performed with left hand
3 triplet – like in western notation, three notes fit into value of two notes.
: breaks between the segments
| breaks between tacts
Big letters show accented beats, small ones unaccented.
“Maqsuum” is the rhythm common for the music of all Middle East and Mediterranean
region. Simple “Maqsuum” can be basis for many rhythms, therefore it is very important in
folk and modern darabuka playing. All the ways to improve it and add ornaments, show the
virtuosity of the player, and power of drumming.
Maqsuum 4/4
1 - + -2 - + -3 - + -4 - + - |
D-T-__T-D-__T-__ | basic form
D-T-KKT-D-KKT-kk | fulfilled
D-S-TKS-D-TKS-tk | accented
“Baladii” is more folk-like version of the basic Maqsuum. Its characteristic feature, is that
two dums are accented, and leading the phrase. It is played on 4 beats. Some players say,
that to play it with traditional feeling, accents should be slightly delayed. It is usually played
slower than Maqsuum. This rhythm is very popular among belly dancers.
Baladii 4 / 4
1 - + -2 - + -3 - + -4 - + - |
D-D-__T-D-__T-__ | basic form
D-D-TKT-D-TKT-tk | fulfilled
D-D-t-D-S-S-t-tk | Egyptian form
“Walking Maqsuum” reflects the rhythm of slow steps, it is fulfilled version of Baladii. It
may be modified with the bridge, which usually leads to faster tempo.
Walking Maqsuum 4 / 4
1 - -2 - -3 - -4 - - |
30
D-T-T-k-D-k-T | basic form
D-k-T-T, D-k-T-tk | with the bridge
“Sayyidii” is other rhythm from the “Maqsuum” family. Sayyidii is played with doubling
the middle Dum. It is very typical for South Egypt. This rhythm is played usually fast, hard
and cheerfully to accompany the “stick dance”- Tahtib.
Sayyidii 4 / 4
1 - -2 - -3 - -4 - - |
D-T-__D-D-__T-__ |
D-T-tkd-D-TKT-tk |
T-T-tkd-D-TKT-tk | modification after the 1st part
D-tk-KD-D-TKT-tk | syncopated
DKS-kkDDD-TKS-tk | syncopated with 3 dums
“Sombati” is another variation of Maqsuum, with shifted accent. It is often used to
accompany vocalists.
Sombati 4 / 4
1 - -2 - -3 - -4 - - |
D-__T-T-D-__T-__ |
D-_kTkT-D-KKT-tk |
Egyptians call the simple Maqsuum “waaHida wa niSf”, which means half “waHida”,
probably because the first part of “waaHida” is simple. “waaHida” means one in Arabian
language, and it reflects beginning with one Dum. WaaHida rhythm may be used for the
transition from one rhythm to another, or as a break.
WaaHida 4 / 4
1 - -2 - -3 - -4 - - |
D --- ____D --- d --- | slow
D --- ____T --- k --- |
D --- __T-____T --- |
D-tktkT, tktkT, k |
D-Tk-KT-TK-KT-k | fast
31
“Bambii” is a modern four-beat rhythm. With its three beats it is quite similar to
“WaaHida”.
Bambii 4 / 4
1 - -2 - -3 - -4 - - |
D-Tk-KT-TK-KD-D-|
D-D-D-Tk-KT-TK-k |
“Çifteteli” is typically Turkish rhythm. The basis is similar to “Maqsuum”, but it is
fulfilled like eight-beat rhythm. The tempo is usually moderate, played slowly, with a lot of
space inside. Darabuka players tend to fulfill the end spaces with surprising ornaments,
which can serve as well as transition into “taaqasiim” – improvisation.
Çifteteli 8 / 4
1 - -2 - -3 - -4 - -5 - -6 - -7 - -8 - - |
D __T --- --- --- __T D D --- --- T --- ____ |
D-TKT, T-tkd-T-tkd --- D --- Tktkt --- |
“Masmoudi” rhythm is characteristic with connection of two four-beat parts. The version,
when first part has two leading beats is called often “fighting Masmoudi”. It is said to sound
like fighting man and woman. Version with three leading beats is called “walking
Masmoudi”, which is often used for marching.
Masmoudi 8 / 4
1 - + -2 - + -3 - + -4 - + -5 - + -6 - + -7 - + -8 - + - |
D --- D --- ____T D --- --- --- T --- ____T |
D --- D --- tktkT-tkd-tktkt-TktkT-tk |
D --- D --- D --- T --- D --- ____T --- T --- |
“Falaahii” is another modification of “Maqsuum”. It is played as two-beat rhythm in a
fast beat. It is often used for folk dance “Falaahii”, which means “farmer”, popular in south
Egypt.
Falaahii 2 / 4
1 - + -2 - + - |
Dk-KD-k-|
32
DtktDktk |
DgkgDkgk |
“Ayyubb” is very popular and quite simple two-fourth rhythm. Slower played, it is used
for PLEMIENNY dance from Egypt called Zar, which is a kind of trans dance. In faster
beat, it is used for belly dance. Some players claim, that Ayyubb should sound like a camel
walk.
Ayyubb 2 / 4
1 - + -2 - + - |
D - KD-T-|
D-KKD-S-|
DktkDtkt |
“Bayou” is on the same timing as Ayyubb, but the Dum is doubled and tempo lowered. It
is often used in drum solo belly dancing.
Bayou 2 / 4
1 - + -2 - + - |
D - DD-T-|
D-KDD-S-|
“Karatchi” is fast two-fourth rhythm. It is very original rhythm, because it is starting on
Tek – the higher sound. It is commonly used in Egyptian and African music.
Karatchi 2 / 4
1 - + -2 - + - |
T - KT-D-|
TktkT-D-|
“Vox” is simple double beat, often accented on the four-beat or eight-beat sets. It is
usually used in modern Egyptian compositions.
Vox 2 / 4
1 - + -2 - + - |
D --- T-K-| [MIDI]
33
“Jerk” is modern Nubian rhythm with two Dums close to each other.
Jerk 4 / 4
1 - + -2 - + -3 - + -4 - + - |
D --- T --- DD - T --- |
D-KKT-tkDDtkT-tk |
D --- T --- D-D-T --- |
D-TKG-tkDkDkG-tk |
Bolero and Rhumba are commonly used in many place on Middle East. Bolero is usually
played slowly often with triplet on the beginning. Rhumba is often played almost twice
faster than Bolero. Probably the Latino rhythms were brought to Spain by Middle East
musicians and Gypsies.
Bolero 4 / 4
1 - + -2 - + -3 - + -4 - + -5 - + -6 - + -7 - + -8 - + - |
--- D --- t3kkT k --- T --- k --- D --- k --- |
D-k --- k --- k-T-k-T-k-T-k-D --- T --- |
Rhumba 2 / 4
1 - + -2 - + -3 - + -4 - + - |
D --- ____T D --- --- |
D-TKT-K-T-K-D-k | [MIDI]
“Zaffah” is a marching rhythm used on wedding procession.
Zaffah 4 / 4 (or 8 / 4)
1 - + -2 - + -3 - + -4 - + - |
D-TKT-t-D-t-t | --D-TKT-t-D-t-t-tt |
D-TKT, D-t-T-D --- |
Foregoing rhythms were presented in a western way of understanding, like shared values
in one tact. Historically and traditionally though, this sense of tact is not so important. The
cycles of the rhythm were repeated, because of the song performance, not because of
standard length of tact.
34
Sometimes, interpretation of folk rhythm may be difficult for the western musician.
Modern middle east musicians are slowly embracing the western style, and share the
rhythms into tacts, because for professional player number of beats per one tact is very
important, and makes a big difference. Sometimes one beat can differentiate two rhythms
used for different occasions. Usually tact consists of 2 or three beats (or more), and the first
one is more important than other – more accented.
For example “saghiira WaaHida” – 4/4 rhythm is traditionally shared into three segments
: 3 + 3 + 2.
saghiira waaHida 4 / 4
D --- __T-____T --- |
1-2-3 1-2-3 1-2 |
3+3+2
There are many rhythms, where 8 beats are shared into 3 + 3 + 2. They can be found not
only in the Middle East or Mediterranean music, but as well Macedonia (rhythm named
Cocek) or Greece(“syrto” rhythm).
Cocek 4 / 4 = 3 +3 +2
1 - + -2 - + -3 - + -4 - + - |
D --- --- t-t-T T-k | [MIDI]
In Egypt or Lebanon the same 3 + 3 + 2 rhythm is called “Malfuuf”, but it is more
accented and fulfilled with ornaments.
Malfuuf 2 / 4 = 3 +3 +2
1 - + -2 - + - |
D - T - T-|
DkkTkkTk |
D-KT-KT-|
“Muwashshat” is a form of spoken or sung poetry. The rhythms below, “dawr hindii”,
“muHajjar”, “murabb `a”, “samaa'ii darij”, “samaa'ii thaqiil”, and as well “maSmuudii”, are
played while “Muwashshat”
35
“Samaaii” is a form of Turkish classical music, which is made of ten-beat sections and
usually ends with faster six-beat set. Those rhythms are included more in art music, than in
folk music.
MuHajjar 14 / 4
1 - + -2 - + -3 - + -4 - + -5 - + -6 - + -7 - + -8 - + -9 - + -0 - + -1 - + -2 - + -3 - + -4 - + - |
D --- D --- D --- ____T --- ____D --- ____________T --- ____T --- ____ | 4 +2 +4 +4
D --- D --- D --- ____T ____D --- --- --- ____T ____T ____T --- --- --- T |
D-tkd-tkd-tkt_k_T-tkt_k_D-tkt_k_T-tkt_k_T-tkt_k_T --- T --- | 2 +4 +4 +2 +2
Murabb "13 / 4 = 3 +4 +2 +2 +2
1 - + -2 - + -3 - + -4 - + -5 - + -6 - + -7 - + -8 - + -9 - + -0 - + -1 - + -2 - + -3 - + - |
D --- T --- D --- T --- __T --- __T --- T --- ____T --- T --- D --- ____ |
D --- T-TKT-KD-TKT-ktkTkT-TKT-KT-TKT-KD-TKT-k |
Samaa "ath ii-thaqiil 10 / 4
1 - + -2 - + -3 - + -4 - + -5 - + -6 - + -7 - + -8 - + -9 - + -0 - + - |
D-______T-__k-______D-__D-__T-______T-__ |
D-__t-k-T-k-S-__t-k-D-__D-__S-__t-k-T-k |
Samaa "ii darij (or darj) 6 / 8 or 3 / 4
1 - + -2 - + -3 - + - |
D-T-T-D-T-__ |
D-TKT-D-T-__ |
D --- T-T-T-__ |
“Darj” is six-beat rhythm. It can have many forms, connected to the place where it is
performed. Persian version can be more syncopated in Maghreb and less accented in Persia.
Darj 6 / 8
1 - + -2 - + -3 - + - |
D-KTK-D-T | --D-D-__T-T-__ |
36
“Dawr” or “Andalus” is a word used in Arabian, Persian and Turkish musical jargon. It
pertains to the scale or rhythmical cycle, which comes back to the starting point.
Dawr / Andalus 7 / 8
1 - + -2 - + -3 - + -4 - + -5 - + -6 - + -7 - + - |
D T --- T --- --- D ------- ------- T | 3 +4
D --- T-k-T-k-t D --- T --- k-t-k | fulfilled
Rhythms, that used three segments, are known as “aqsaaq”, which means “broken”.
Those rhythms are still a big part of traditional music of Middle East. The term “aqsaaq” is
used by Turkish musicians to describe various rhythms counted in groups of twos and thirds.
Aqsaq rhythms may be not pleasure to perform for western musicians- they are not
proportional.
“Karşılama” means “face to face” in Turkish. This 9-beat rhythm is very popular for belly
dancing and folk music (for example “Rompi Rompi”). This rhythm is grouped into 2 + 2+
2+ 3 and can be counted into two groups: fast and slow.
Karşılama 9 / 8 = 2 +2 +2 +3
1 - + -2 - + -3 - + -4 - + -5 - |
D-__T, __D, __T, T-t |
D-KKT-KKD-KKT-T-t-|
D-TKT, tkd-tkTkT, t |
“Curcuna” is Armenian rhythm grouped into 3 + 2 + 2 +3. It sound almost like “ayyuub”
but with more space.
Curcuna 10/8
1-+-2-+-3-+-4-+-5-+-|
D-__T-k-__D-__T-____| 2+3+2+3
D---__T---D---T---__| 5+
There are two ways to create a seven-beat rhythm 2 + 2 + 3 or 3 + 2 + 2. In Turkey and
Greece 2 + 2 + 3 are commonly known as “laz” or as “bar laz” and 3 + 2 + 2 are known as
“Kalamantiano”. Both forms are used to line dances and folk songs.
Laz 7/8=2+2+3
37
1-+-2-+-3-+-4-|
D---T---T-----| [MIDI]
D-k-D-k-D-k-k-| [MIDI]
Kalamantiano 7/8=3+2+2
1-+-2-+-3-+-4-|
D-t-t-D-t-D-t-| [MIDI]
D-----T---T---| [MIDI]
D-ktk-D-k-S-k-| [MIDI]
D-tkt-D-tkT-t-| [MIDI] 19
Cult of darabuka, and its big musical possibilities, caused that there are many famous
players all over the world. Players chosen to be introduced in this chapter are of Turkish
origin.
4.4
Famous Darabuka Players
Ahmet Yıldırım (called as well Mısırlı
Ahmet) started studying playing on
Turkish drums when he was 17 years old.
After couple of years, he discovered
brand new technique – split finger –
which soon influenced musicians playing
on darabuka all over the world. Turkish
players though, were too focused on
traditional drumming, and they were not
Picture 31
ready to embrace new technique. Ahmet
moved to Egypt, where he gained fame. In 1991 he completed a recording, where darabuka
played the main role – it was complete innovation on that time. The main instrument he was
using on that time was ceramic darabuka with head made of skin. After moving back to
Turkey, he open school in Istanbul and started teaching drum players from all over the
world.
Split finger is a technique, that enables player to perform alternating beat with first and
ring finger. Its basis lies in gyration movement of the wrist, while the palm is relaxed and
the fingers are hitting the membrane. This technique is very demanding, and needs to be
practiced several years to reach a good performance level. After mastering this technique,
player can perform with great speed and can make many rolls’ combinations. 20
38
Levent Yıldırım- younger brother and student of Mısırlı Ahmet. He
started playing on darabuka at the age of 16. He spent a lot of time
traveling on the Middle East, Europe and America. Not only he is
using split finger technique, but as well he develops other styles of
drumming, including experimenting with Indian tabla technique, and
other. He is wonderful improviser.21
Picture 32
Mehmet Akatay was born in 1969 in Turkey. His father was
a classical music singer, so from the early childhood Mehmet
was educated on the ground of music. He studied playing on
darabuka from Burhanettin Tunguç. He attended many
international musical festivals and played with famous singers,
such as Sezen Aksu, Orhan Gencebay, Tarkan, Ibrahim
Picture 33
Tatlises, Susheela Raman or Civan Gasparyan, In his darabuka
playing he is very innovative. One of his main achievements is recording a solo CD “Dest
De Dest” with Sony BMG Music in 2003.22
Sait Arat was born in Ankara, to study playing on darabuka, he moved to Istanbul, where
he studied under supervision of great teachers:
Mısırlı Ahmet and Levent Yıldırım. During his
career he performed with many musicians,
including Mercan Dede, Kenan Dogulu, Serdar
Ortac, Djenk Sarkus. He toured the Europe, and,
being open for many musical styles, he mastered
rhythms used in reggae, blues, Latino music,
jazz, tango and flamenco. From 2009 till 2011,
Picture 34
he performed with jazz group “Alaturka”. In
2011 he moved to New York City.
23
Hakan Kaya grew in musical family. As a young boy, he started
to play Bağlama and begun to discover Anatolian folk music
tradition. When he was 17 years old he traveled to Varanasi in
39
Picture 35
India, where he studied darabuka playing in Indian style. Therefore his drumming
performance is fusion of two wonderful cultures – Turkish and Indian. During his career he
played with Aynur Doğan, Cavit Murtezaoğlu, Adile Yadırgı, Cem Yıldız and others. His
biggest achievement is releasing first DVD in the world, teaching how to perform the
Turkish split finger technique.24
Serdar Bağtır was in 1979 in Istanbul. When he was nine
years old, he started lessons on darabuka with Mısırlı Ahmet.
Later, he studied classical Turkish music. He was a founder of
drumming group “SINA” which he started at 2005, he was a
member of music theatre “Shaman” from 2003 till 2008. He
performs as well solo as joint concerts. He played with Buzuki
Picture 36
Orhan, Gülay, Rober Hatemo, Sinan Erkoç, Hazal, Hamiyet,
Popstar Abidin and others.25
_____________________________________________________________________
1) “Darbuka.” Savvas Percussion.com 21 February 2011. 9 February, 2013
http://www.savvaspercussion.com/lang1/introduction.html
2) Panjeta, Mustafa. “General on Darbukas.” Custom Darbuka 31 March 2011. 9 February, 2013
http://www.custom-darbuka.com/general-on-darbukas.html
3) Hobbs, Elizabeth. “Middle Eastern Drum History.” Khafif 22 August, 2007. 9 February, 2013
http://www.khafif.com/rhy/his.html
4) Brookens, Richars. “Dumbek.” Yellow Belly Music n.p. 9 February, 2013
http://yellowbellmusic.com/instruments/percussion/dumbek.php
5) “Introduction.” Savvas Percussion.com 21 February 2011. 9 February, 2013
http://www.savvaspercussion.com/lang1/introduction.html
6) Brookens, Richars. “Dumbek.” Yellow Belly Music n.p. 9 February, 2013
http://yellowbellmusic.com/instruments/percussion/dumbek.php
7) Olszewski, Aleksander. “Siedem Porad Głównych.” Darbuka.pl 4 March, 2012. 9 February, 2013
http://darbuka.pl/2012/03/04/siedem-porad-glownych/
8) Olszewski, Aleksander. “Rodzaje.” Darbuka.pl 29 January, 2012. 9 February, 2013
http://darbuka.pl/2012/01/29/rodzaje/
9) Rozhok, Anatoliy. “Buying a Doumbek.” Oriental Dancer n.p. 9 February, 2013
http://www.orientaldancer.net/belly-dance-library/belly-dance-music/buying-doumbek.php
10) http://www.darbukaplayer.com/darbuka-lesson/darbuka-percussion-of-the-arabic-world-and-beyond
12) Stonehouse, Matt. “Darbuka- ‘Percussion of the Arabic World and Beyond.’” Darbuka Player 24
August 2009. 9 February, 2013
http://www.darbukaplayer.com/darbuka-lesson/darbuka-percussion-of-the-arabic-world-and-beyond
40
14) Rozhok, Anatoliy. “Buying a Doumbek.” Oriental Dancer n.p. 9 February, 2013
http://www.orientaldancer.net/belly-dance-library/belly-dance-music/buying-doumbek.php
15) Olszewski, Aleksander. “Skąd się Biorą Bębny.” Darbuka.pl 31 January, 2012. 9 February, 2013
http://darbuka.pl/2012/01/31/skad-sie-biora-bebny/
16) Olszewski, Aleksander. “Separation of Senses.” Darbuka.pl 20 February, 2012. 9 February, 2013
http://darbuka.pl/2012/02/20/separation-of-senses-niezaleznosc-rak/
17) “How to maintain the Darbuka drum.” Arab Instruments n.p. 9 February, 2013
http://www.arabinstruments.com/112730/How-to-maintain-the-Darbuka-drum
18) Al-Sha’ir, Mas’ud. “Drumming” Blackroot 1 December 2012. 9 February, 2013
http://www.blackroot.org/drumming/drumming.html
19) All the materials about rhythms were gathered during the lectures preparing for the national Belly
Dance instructor exam.
20) Olszewski, Aleksander. “Nowa Tradycja Turcji.” Darbuka.pl 30 January, 2012. 9 February, 2013
http://darbuka.pl/2012/01/30/38/
21) Olszewski, Aleksander. “Leven Yildirim.” Darbuka.pl 02 February, 2012. 9 February, 2013
http://darbuka.pl/2012/02/02/levent-yildirim/
22) “Mehmet Akatay.” Tamburi Mundi 13 February 2009. 9 February, 2013
http://www.tamburimundi.com/index.php?option=com_content&task=view&id=113&Itemid=224&la
ng=en
23) Arat, Sait. “Sait Arat.” Sait Arat 15 January 2013. 9 February, 2013
http://saitarat.com/
24) Gálvez, Victoria. “Hakan Kaya.” Hakan Kaya n.p. 9 February, 2013
http://www.hakan-kaya.com/Default.asp?option=com_content&view=article&id=2&Itemid=55
25) Olszewski, Aleksander. “Muzycy Mniej i Bardziej Sławni.” Darbuka.pl 21 April, 2012. 9 February,
2013
http://darbuka.pl/2012/04/21/z-cyklu-muzycy-mniej-i-bardziej-slawni-cz-vi/
41
5. Contemporary and Popular Turkish Music
5.1
Historical overview of the Modern Artificial Music
Probably the first switch of the traditional into modernized style of music was when
Sultan Mehmed II the Conqueror (1432–1481) changed the traditional Turkish military
Mehter bands into Muzika-i Humayun – westernized musical institution. The first conductor
there was Giuseppe Donizetti (1788-1856, younger brother of Gaetano Donizetti – famous
opera composer). He created a new court band, which first concert was given on 19 th April
1829. Later he became “General Director of the Ottoman Court Musicians” and gave birth to
the first music school. In 1840 first ensemble of string instruments was formed. In 1847
Franz Liszt arrived to Istanbul’s court to give concerts. After Donizetti’s death in 1856,
Callisto Guatelli became the new director. After half of 19 th century, famous European
operas were staged in Turkey.
Being educated in European conservatories started to be immensely popular. Composers
like Macar Tevfik Bey, who studied piano in Venice, or Saffet Atabinen, who was pupil of
Theodor Dubois in Paris. Female composers, like Layla Saz, started to have their own voice
as well.1
In 1923 Turkey became republic. Cemal Reşid came back from his educational stay in
Europe and started teaching in Istanbul. The most famous composers who have been sent as
young men to Europe came back to Turkey as well. Later they were called “The Turkish
Five” (“Türk Beşleri”). They laid bases of polyphonic music in Turkey. The aim of their
creation was to combine traditional themes with new Western classical music values and
approach.2
Those five composers were: Ahmed Adnan Saygun, Ulvi Cemal Erkin, Cemal Reşit Rey,
Hasan Ferit Alnar and Necil Kazım Akses.
5.2
Famous Turkish Contemporary Composers
Ahmed Adnan Saygun (1907-1991) a famous Turkish
composer, one of “The Turkish Five”, some of the sources
state him as the most important composer of his decade.
42
Picture 37
He was born in Izmir. In his works he fused Turkish traditional songs with western
practices. During his musical output is: five symphonies, five operas, two piano concertos
and many chamber and choral works.
While being young, he earned his living from teaching and translating articles about
music. He left the country to be educated in Paris Conservatoire and returned to Turkey in
1931 when he started teaching in “Training College for Music Teachers”. In 1934 Atatürk
proposed him to write opera to venerate Shah of Persia’s visit in Ankara. In 1942 he wrote
oratorio “Yunus Emre” probably his most famous piece. In 1946 he started working in
Ankara Conservatory- he taught composing and ethnomusicology. Through all his musical
career he was know of combining different musical forms. 3
Ulvi Cemal Erkin (1906- 1972) was born in Istanbul. His mother played piano and it is
she, who motivated Ulvi to start the musical education. His first
piano lessons were given by a Frenchman named Mercenier.
When Ulvi was 19 years old, he was sent to Paris to deepen his
knowledge and skills. After coming back to Turkey in 1930 he
started teaching in School of Musical Education. During his life
he found himself in many roles: he was a composer, professor,
pianist, accompanist, and conductor. He devoted his life to
schooling. He wrote “Sinfonietta” to help students learning
difficult rhythmic patterns. His music was very popular,
Picture 38
because of its pleasant quality.
In 1932 he married Ferhunde Remzi- pianist educated in Leipzig conservatoire, and
together they complemented one another in further teaching.4
Cemal Reşit Rey (1904-1985) was born in Jerusalem- his
father was governor there. Because of the difficult political
situation, his family had to move to Paris. He started there
studying at Paris Conservatory. When the first world war
came, the family had to move to Geneva. There he continued
his education at Geneva Conservatory. In 1913 he was able to
43
Picture 39
come back to Paris and start his composition studies. In 1932 he returned to Turkey, where
he taught at Istanbul Conservatory piano and composition. He was one of the founders of the
Philharmonic association in Istanbul. On the beginning he was highly influenced by
impressionism, then he found the inspiration in westernized Turkish folk music. 5
Hasan Ferit Alnar (1906-1978) was born in
Istanbul. From early childhood he played Kanun
(described in detail in chapter two). Being 12 years
old, he was already quite famous as a Kanun
performer. Soon he joined Istanbul Conservatory
where, besides playing the instrument, he studied
harmony and counterpoint. Already when he was 16
years old he started composing. In 1927 he entered
Vienna State Academy of Music and the Visual Arts
where he studied mainly composition and orchestral
Picture 40
conducting. In 1932 he started teaching music history
at Istanbul conservatory and for while he taught as
well Turkish music theory. In 1936 he became assistant conductor of Symphony Orchestra
of the Prime Ministry in Ankara. While living in Austria and Germany he worked as
conductor. In 1952 he had to quit conducting because of ill health. His most popular work is
probably “Kanun Concerto” which is the first work using traditional instrument fused with a
western orchestra.6
Necil Kazım Akses (1908-1999) was born in Ankara. He was the youngest of “the Turkish
Five”. His musical education started in primary school,
where he studied violin. Being 14 years old, he continued
with cello under tutelage of Msedu Cemil and Sezai Asal.
Then he continued with studying harmony at Istanbul
Municipal Conservatory where he was taught by Cemal
Reşit Rey (older member of “the Turkish Five”). In 1926
he graduated and was sent by his parents to continue his
studies in Vienna. After one year there, he received a
scholarship, and soon after acquired a Master’s degree.
Picture 41
44
Completing his studies in Vienna, he moved to Prague State Conservatory, where he learned
from Josef Suk – a great Czech composer and violinist.
In 1936 he came back to Turkey to start teaching in School of Music Instructors in
Ankara, of which he became deputy director. Then he taught in Ankara State Conservatory,
and in 1948 he became director of it. In 1949 he became Director General of the Fine Arts of
the Ministry of National Education. From 1958 till 1960 he was director of state opera and
ballet.
During his amazing career he experimented with genres and styles. Probably most of all
he was inspired by Aleatoric music (called as well Chance music or Indeterminacy) is a
style, where some part of the composition is left to chance.7
In 1924 Atatürk set the law, stating that musical training in schools was obligatory. The
same year first conservatory opened “Music Instructor’s School” which trained future music
teachers. Muzika-i Humayun became now “the Presidential Music Band.
In 1932, as the music making became more popular, the “people’s houses” were opened
in every town and village. People’s houses in Turkey gave first of all formal education to all
the people. In developed broad range of skills, including musical ones.
All of the Atatürk’s reforms mentioned above served to the development of modernized
Turkey with its distinct, but developing and tolerant culture. He was an amazing reformer,
who knew that the art is a soul of the nation. To keep it alive it has to be constantly
cultivated.
Around 1930 new generation had to cope with new idea of composing. Not only the rules
that were applied and heavily restricted in Ottoman Empire were changed, but new approach
to the creation itself was discovered. Different techniques and devices started to be used to
create a new, varied form of expression. Artist then was a freshly inspired result of two
cultures’ fusion- European and Turkish.
Previous eastern approach was that the artist is only a divine creature, who channels the
secrets of art into the earth. “Analyzing, explaining, criticizing are not part of the eastern
thinking. To criticize his own art is to criticize the divine gift. Artists duty was a great and
highly esteemed responsibility.
45
Contemporary approach, on the other hand, still respects the traditional values and ways
of creation, but changes it into a completely new result, molded to the artist’s own taste and
internal feelings.
Opus numbers and the idea of separate compositions always existed in Turkey, in
opposite to e.g. Persia, where majority of works were improvisations on fixed rules. This
may be the main reason, why traditional composition style was easily adapted, and
developed by new generations. As well interesting is fact that Turkish composers were not
making their career as virtuoso players as addition to composing, but only as composers and
teachers.
Very important step towards the modern composition was onset of composition teaching
in the Ankara State Conservatory in 1940s. Nevertheless teaching composition is very
erratic matter. Theoretically it offers to graduate of this specialization freedom of choice. In
practice fresh graduate has to overcome many obstacles. His/her music has to be simple
enough to be played and performed for diverse public. Written for music institutions, it
should be easily understandable small piece. Undergoing a big pressure, young composers
often find their source of income in other related works, as teaching, conducting, writing
reviews to musical publications etc. and treat composing as an hobby.
In the modern world of Turkish Music time plays a significant role. To be a good
composer, one has to know the “history of humanity, the history of its brain and heart”.
Knowing this, the universal language of music has to be found. In connection with strong
national roots and international influences it results with breathtaking compositions. 9
Further development of national culture flourished. In 1924 Istanbul Radio Station was
opened followed by Ankara Radio opened in 1938. In 1969 Istanbul State Opera and Ballet
was established, in 1972 State Symphony Orchestra and in 1977 International Istanbul
Music Festival was initiated for the first time. 10
46
5.3 Pop Music
Pop music started making its road to people’s heart already in the late 19 th century. Style
named “canto” emerged. It can be seen as direct predecessor of pop music, because there
was no resemblance neither to traditional Ottoman music, nor to newly developed western
forms. Additionally it was purely entertaining, with western instruments used more and
more. By early 50s “canto” earned its position as an inseparable part of stage performance.
After WWII singers from Europe gained fame in Turkey, followed by American stars and
their rock’n roll. Nevertheless new stream of pop music was only a small part of whole
Turkish musical stage. Fecri Ebcioğlu after his trip to America, where he saw immigrants
singing popular songs in their mother tongue, started this trend in Turkey, it was called
“Aranjman” music (Turkish words for world’s hits). New era of music called “Turkish light
western music” begun. The first Turkish pop song is probably “Bak Bir Varmış Bir Yokmuş”
(Look, once upon a time) by Ilham Gencer.
Around 1960s, after the independence movements and ideology of freedom started to
have impact on society, bigger stress and interest was put into folk culture and music. Pop
music undergone a reformation, it fused with traditional tunes and rhythms, creating a
completely new style of “original music”. One of the first songs created in this style was
“Burçak Tarlası” (field of vetch) by Tülay German. Out of “original music” emerged as well
“Anadolu pop” (Anatolia pop) by adding regional motifs. Simultaneously other minor
genres, like “Arabesque”, developed. In late 1960s trend reversed and Turkish songs started
to be sung by singers from European countries, like Derio Morena who sung “Deniz ve
Mehtap” (The sea and the moon).
The super stars of late 60s were: Barış Manço, Erkin Koray Cem Karaca, Hümerya,
Yaşar Güvenir.
1980s the most popular were: Sezen Aksu, Nilüfer, Kayahan.
In 1990 there was “explosion of pop music”. The result of that was mainly that the
singers disappearing quickly from the stage, replaced by a “fresh blood”. From 1990s till
now probably the most famous were: Sertap Erener, Tarkan, Mirkelam, Yıldız Tilbe, Nazan
Öncel, Ahmet Kaya, Grup Yorum and İlhan Şeşen.
47
Nowadays, the most popular singers on the pop stage are most of the one from 1990’s,
but as well many young shining stars: Serdar Ortaç Harun Tekin, Kenan Doğulu, Yusuf
Güney, Sıla, Ferman Akgül (MaNga), Hande Yener, Sertab Erener.11
What is very specific for the Turkish popular music is the use of the traditional music
instruments and their sophisticated rhythms.
During my travels in the Europe I have never noticed any specific folk instruments used
in pop, mainstream music. For example in Poland, my home country, no one uses Mazanki –
violin-like folk instrument, nor traditional Bagpipes, nor Burczybas – an interesting
instrument made of barrel covered with leather with a horsehair mounted in the middle of
the membrane.
Turkey is opposite – Turks seem to be proud of their instruments, and almost in every
pop song one can hear the specific sound of some of them, mostly though darabuka. This
drum gives to the song a specific, Turkish feeling and rhythm. Once such song is played in a
disco, the young dance to it with a certain hand and hips movements, that are deeply rooted
into their culture.
Many famous darabuka players mentioned before are cooperating with pop stars.
Therefore I would like to introduce some of them.
5.4 Famous Pop Singers
Being less or more important in the contemporary music’s history is often a matter of
personal taste, therefore I have chosen those few singers, who are being perceived as
legendary.
Barış Manço (1943-1999) was born in Istanbul, where he
ended his life as well. He was educated in high school in
Turkey but, having a need for being educated abroad he left
the country and have been accepted to study in "L'Académie
Royale des Beaux Arts de Liège" in Belgium. He graduated in
1969 and came back to the homeland. During his fabulous
career he wrote over 200 songs, with both lyrics and
compositions created by himself. Many of those were
48
Picture 42
translated to foreign languages. 12 of his albums received gold and one was rewarded with
platinum. After 30 years being on the pick of his fame, he introduced his own TV show
which aim was to “build new cultural bridges between countries” and was focused on
cultural education with a musical backdrop. Within eight years of recording the show,
together with his crew, he visited over 150 countries. As vocalist as well as TV star, he
received many rewards all over the world. He died surprisingly of heart attack. 12
Erkin Koray (1941-?) was born into a musical
family- his mother was piano instructor. When he was
five, he started learning how to play piano, then when he
was 15 he started to play guitar, inspired by rock’n roll.
Soon after he founded his band called Ritimciler. He is
still called a father of Turkish rock music, he is a real
legend. As first he combined Turkish and Middle
Eastern tunes with rock music. On top, when there was a
boom for an American rock’n roll he captivated Turkish
hearts with lyrics in his mother tongue into the rock’n
roll music. With his long hair and free lifestyle he
Picture 43
become an icon. With a band Yeralti Dörtlüsü
(Underground Foursome) he ruled as No.1 on charts
with his immortal hits. Erkin travelled to many countries. When his went in 1982 to Canada
he married and had a daughter. He brought soon the family back to Turkey. Interesting fact
is that he changed classical Bağlama (guitar-like string instrument)into electro-Bağlama. He
opened as well the first rock club in Istanbul.13
Cem Karaca was born In 1945 in Istanbul,
his parents were professional actors. When he
was young, he started to play covers with a
band, but soon after he began his own writing.
He fused Anatolian lyrics with contemporary,
edgy rock. Cem gained his popularity with
Apaslar’s band. The band’s activity lasted only
around two years and after that he created
Picture 44
49
another band Kardaşlar (in English “Brothers”). With his stylish image: wearing hat, glasses
and having long hair, not only he was a star but as well an icon. With group Mogollar he
started composing political songs, and in 1978 he was charged of treason and, after he
moved to Germany, deprived of Turkish citizenship. With a change of government he was
given amnesty in 1987. He died in 2004 in Istanbul.14
Sezen Aksu was born in 1954 in Anatolia.
She attended high school in which she studied
painting, music and theatre. After entering
Aegean University she started to compose, and
her first released song was “Kaybolan yıllar” (in
English it means “Last Year”). This hit moved
the hearts of the audience and started her
career.15 Sezen is the first female artist in Turkey
who composed her own songs and performed
them. Some of them have visible Anatolian
Picture 45
romantic climate. Till now, she wrote over 500
songs and released poetry book called “Poems
to Be”. Aksu is active supporter of all the events supporting the peace on Earth and unity of
human kind.16
Tarkan was born in 1972 in Germany. He was 5th child
out of six. He spend his childhood (till 14 years old) in
Germany, where he received basic education. It was after
his family moved to Turkey, when he discovered his
passion to music. At the time they were living in
Karamürsel, where he joined town’s Music Association.
Not long after the family moved to Istanbul, where
Tarkan went to high school and joined Üsküdar Music
Association where he continued studying Turkish
classical music. In 1992 he released his debut album
“Yine Sensiz” (in English “Without You Once More”) and
gained popularity. The biggest step for him though was
recording with Sezen Aksu. After this event, his fame in
50
Picture 46
Turkey flourished. He became known world-wide and entered international music charts
after recording a single “Şımarık” (later named in English as “Kiss Kiss”). Soon the song
was translated into multiple languages and the video was recorded. Tarkan went on his first
Europe-tour. Other important step is his career was to compose and perform official song for
Turkish National Soccer Team. In 2006 he recorded an English album. After such a long and
great career, nowadays he is often called a “King of Turkish Music”. 17
Kenan Doğulu was born 1974 in Istanbul. His father Yurdaer Doğulu recorded four
albums. At the age of five Kenan started his education on
piano. After six year of being in piano-class, he began his
education on flute and guitar. He studied as well rhythmical
instruments and singing (soloist in a children choir). His
first album released in 1993 became a great success. In
2006 he represented Turkey on Eurovision contest in
Helsinki, where he placed fourth. He is one of the most
Picture 47
popular singers of the last decade. He released 12 albums,
and he plans now to produce “The best of” with the most
popular songs from the previous albums.18
_______________________________________________________________________________________________________________________
1.
2.
Ahmet Say, The Music makers in Turkey, Ankara: Music Encyclopedia Publications, 1995, p.30-31
Republic of Turkey Ministry of Culture and Tourism, “Turkish Classical Music”. Turkish Culture. 10
April 2013
http://www.turkishculture.org/music/classical-31.htm
3. “Ahmed Adnan Saygun”. Big Love Turkey. 10 April 2013
http://www.bigloveturkey.com/culture/whois-ahmet-adnan-saygun.asp
4. Icten Erkin. “Ulvi Cemal Erkin –Biography”. Ulvi Cemal Erkin.10 April 2013
http://www.ulvicemalerkin.com/biography.htm
5. “Cemal Resit Rey”. Turkish Music Portal. 10 April 2013
http://www.turkishmusicportal.org/composer.php?id=162
6. “Hasan Ferid Alnar”. Turkish Music Portal. 10 April 2013
7. “Necil Kazim Akses”. Turkish Music Portal. 10 April 2013
8. Ahmet Say, The Music makers in Turkey, Ankara: Music Encyclopedia Publications, 1995, p.32-33
9. Ilhan Usmanbas. “Music Composition In Contemporary Turkey”. Turkish Music.10 April 2013
http://www.turkishmusic.org/cgi-bin/d?contemp_composition_9.htm
10. Ahmet Say, The Music makers in Turkey, Ankara: Music Encyclopedia Publications, 1995, p.37
11. Orhan Kahyaoglu. “Pop Music”. Turkish Music Portal.10 April 2013
http://www.turkishmusicportal.org/page.php?id=53
51
12. “Baris Manco”. IMDb. 10 April 2013
http://www.imdb.com/name/nm0541534/bio
13. “Erkin Koray”. All Music. 10 April 2013
http://www.allmusic.com/artist/erkin-koray-mn0000803481
14. “Cem Karaca”. All Music. 10 April 2013
http://www.allmusic.com/artist/cem-karaca-mn0000336980
15. “Sezen Aksu”. Sezen Aksu. 10 April 2013
http://www.sezenaksu.com.tr/#/Eng
16. “Sezen Aksu”. Turkish Music Club. 10 April 2013
http://www.turkishmusicclub.com/sezen_aksu.htm
17. “Tarkan”. Tarkan. 10 April 2013
http://www.tarkan.com/home/
18. “Kenan Doglu”. Youzeek. 10 April 2013
http://youzeek.com/?Artist=Kenan+Do%C4%9Fulu&page=Biography&lng=PL
52
6. Conclusion
Music has always accompanied the people. Instruments were invented before devising
writing systems. First simple ones, then more complex instruments started to be invented.
Understanding and feeling of the music also changed through the centuries.
In Turkey the known history starts from migration of Turkic tribes from Asia to what is
now the territory of Republic of Turkey. During the history, one fact had never changed–
music has always been a crucial point of the nation and its culture. In the ancient times as
well as in the modern times it is used for religions and social purposes, like prayers, hymns,
national songs and other means that are meant to consolidate the nation as one. Religion has
a big influence on Turkish music – starting from Shamanism to accepting Islam is has
always had a specific role. In the times of wars and battles, using instruments and singing
bracing songs and chants were giving power to Turkish soldiers and a sense of fear to the
enemy.
The important fact in the Turkish music history is the existence of Ottoman Military
Music Band – Mehter. This was a group of soldiers-musicians who were one of the first
military bands in the world and inspiration for the European ones. Later Mehter band was
replaced by a court musicians, whose role was more representative and entertaining. Turkish
music is very rich with their national instruments. Many of them are produced and used till
nowadays. They can be heard in classical music pop music, played on the streets and
cafeterias. There is a strong tradition of small bands consisting mostly of Kanun, Zurna and
darabuka, sometimes as well Bağlama and Def. Those bands are touring restaurants and
cafeterias while playing traditional songs and receiving some tips for that. Quite amazing for
the European observer is to see that those complicated songs and rhythms are very
enthusiastically received and sung (sometimes even danced to) by the public.
Darabukas can be seen in every place in Turkey. It is often sold to the tourist in the cheap
version, darabuka players play on the streets, they accompany Belly Dance, which is
extremely popular in Turkey. It seems that people know the rhythms so well that any Turk
would be able to play at least the basic ones. Average darabuka player is not educated in a
musical school, but extremely talented and usually taught by the family. There are many
types of darabuka and every player can choose the suitable one for him or her.
53
Many of the traditional rhythms are used in modern popular music. It is quite amazing
how Turkish musicians can fuse tradition with modernity. Their strong voices can be very
expressive – from hear-tearing ballads to fast dance-music with quite oriental for European
color and timbre of voice and musical ornaments. Turkish super-starts have rich output and
some of them are recognized all around the world. As Nietzsche said “Music is universal
music of mankind” applies as well in this context – all the possible feeling can be channeled
through music.
Quite a significant inspiration for me was the State Exam for a Belly Dance Teacher I
passed back in Poland. During the workshops preparing for the exam, we have learned a lot
about oriental cultures, musical theory and darabuka with its rhythms, being important to be
recognized by the musicians as well as the dancers. Nowadays, in Prague I have not much in
common anymore with oriental dance, but love to Turkish belly dance music and energetic
darabuka drum solos stayed in my heart. I owe one Darabuka from Alexandria company,
which is not Turkish, but Egyptian model. I have chosen this one because of its beautiful
embellishments and rounded rim of the drum that allows beginner to practice without having
too much pain in the palms. The other instrument that I owe are finger cymbals – zills. One
set of zills consists of four cymbals, each of them put on the finger (thumbs and middle
fingers). The sound produced by them can be resonant or clacking.
During my research I have planned to make some interviews with Turkish musicians and
ask them about their personal view of the Turkish music. Sadly, I was unable to go to
Turkey in the winter and I could not find any musician eager to collaborate through the
internet, so I had to focus on the information I have already collected during my summer
break – mainly in Borusan Music Library in Istanbul and in the internet. Aim of my thesis
though, which was to enclose and highlight the Turkish musical culture was accomplished
and hopefully clear enough to be read with interest.
54
Appendices
I Links for Darabuka Chapter
Rompi Rompi- example of using Karsilama rhythm
https://www.youtube.com/watch?v=JYZUpKzVpKU
Seit Arat playing darabuka
https://www.youtube.com/watch?v=dj1A3zK4Oys
The youngest famous darabuka player Küçük Yunus
https://www.youtube.com/watch?v=kGPpX0On7dI
II Links for Pop Music
Babutsa –Yanayim Yanayim
https://www.youtube.com/watch?v=k7bc6o4ThaE
Ebru Gundesh – Seninle Çok İşim Var
https://www.youtube.com/watch?v=F5JH8UCills
III CD attached to my Bachelor Thesis consists of examples of the rhythms described in
the Chapter 3 and some examples of Turkish Music. Rhythms’ examples will probably be
very helpful to understand the patterns shown in the Thesis.
Rhythms
1. “Maqsuum”
2. “Baladii”
3. “Walking Maqsuum”
4. “Sayyidii”
5. “Sombati”
6. “WaaHida”
7. “Bambii”
8. “Çifteteli”
9. “Masmoudi”
10. “Falaahii”
11. “Ayyubb”
55
12. “Bayou”
13. “Karatchi”
14. “Vox”
15. “Jerk”
16. “Bolero”
17. “Rhumba”
18. “Zaffah”
19. “Saghiira WaaHida”
20. “Cocek”
21. “Malfuuf”
22. “MuHajjar”,
23. “Murabb `a”
24. “Samaa'ii thaqiil”
25. “Samaa'ii darij”
26. “Darj”
27. “Dawr” or “Andalus”
28. “Karşılama”
29. “Curcuna”
30. “Laz”
31. “Kalamantiano”
Music-examples
32. Baris Manco - Can Bedenden Cikmayinca
33. Baris Manco - Daglar Daglar
34. Ciftetelli - Tanyeli Antep (example of the rhythm used in song)
35. Kenan Dogulu - Ellerimde Cicekler
36. Oryantal Misirli Ahmet - Cilgin Darbuka II (Misirli Ahmet- darabuka player)
37. Serdar Ortac-Karabiberim
38. Sezen Aksu-Firuze
39. Sezen Aksu - Ikili Delilik
40. Sezen Aksu - Kac Yil Gecti Aradan
41. Tarkan - Simarik
56
Summary
This bachelor thesis is focused on Turkish Music and its history, rhythms and
instruments, especially darabuka drum. Music is one of the most important feature of
national culture. It accompanies people in their everyday lives. It can express joy, sorrow,
longing, anger, fear disappointment and probably all other human feelings. Music serves
many cultural events, from village feasts to most important political events of the country. It
helps people relax, motivates themselves or follow their passions.
The first chapter focuses on the historical background of Turkish music. It depicts three
stages : pre-Islamic music, post-Islamic music and, shortly, modern music of Turkey.
Knowing historical view is important to understand the musical culture better and to be able
to see what were the inspirations for certain compositions.
The second chapter describes Turkish instruments of four branches: string instruments,
wind instruments, idiophones and membranophones. Each of the instrument is unique in its
own way. Some of them are being produced and played through the centuries and are still
popular in Turkey.
In the third chapter darabuka and rhythms played on it are described. Darabuka is a
really fascinating drum. There are many types of it and it is played in many countries
besides Turkey. There are various techniques of playing and some of the famous darabuka
players managed to invent their own ways of expression.
Fourth chapter will be focused on contemporary artificial and pop music. Short historical
view to the artificial music and its most famous composers will be described. In the second
part of the chapter pop music and the most famous pop stars will be pictured.
The conclusion of this bachelor thesis focuses on the understanding of connection of
broad musical parts into one great picture of Turkish music.
57
Bibliography:
Ahmet Say, The Music makers in Turkey, Ankara: Music Encyclopedia Publications, 1995, ISBN 9757436194
Lectures preparing for the national Belly Dance instructor exam.
Boyut Publishing Group, Magnificent Ottoman Composers- Ottoman Sound,s (Istanbul: Boyut Music), ISBN 975521434B
Eugenia Popescu-Judetz, Meanings in Turkish Musical Culture, Istanbul: Pan Yayıncılık, 1996, ISBN 9757652539
http://www.allaboutturkey.com
http://www.allempires.com
http://www.allmusic.com
http://www.arabinstruments.com
http://www.bigloveturkey.com
http://www.darbuka.pl
http://www.darbukaplayer.com
http://www.en.wikipedia.org
http://www.hakan-kaya.com
http://www.imdb.com
http://www.khafif.com
http://www.orientaldancer.net
http://www.saitarat.com/
http://www.savvaspercussion.com
http://www.sezenaksu.com.tr
http://www.tamburimundi.com
http://www.tarkan.com
http://www.tsk.tr
http://www.turkishclass.com
http://www.turkishculture.org
http://www.turkishmusic.org
http://www.turkishmusicclub.com
http://www.turkishmusicportal.org
http://www.ulvicemalerkin.com
http://www.youtube.com/watch?v=HMgpJXK--TE
http://yellowbellmusic.com
http://youzeek.com
Pars Tuğlacı, Turkish Bands of Past and Present, Istanbul: Cem Yayınevi, 1986,
58
Sources of Pictures:
1.
http://www.unfretted.com/loader.php?LINK=/classes/makam [22 April 2013]
2.
http://de.ioffer.com/i/baglama-saz-electronic-dark-520970968 [22 April 2013]
3.
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4.
http://larkinam.com/MiddleEasternStrings.html [22 April 2013]
5.
http://www.culturebeats.nl/Mixtweb/Instr6.htm [22 April 2013]
6.
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7.
http://anatoliablog.wordpress.com/2009/05/06/kabak-kemane/ [22 April 2013]
8.
http://www.acoustics.hut.fi/research/asp/lutes/ [22 April 2013]
9.
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10. http://www.ethnicmusicalinstruments.com/Mid-East-32-Yapim-7-String-Turkish-Striped-Lavta-SoftCase.html [22 April 2013]
11. http://indian-instruments.com/stringed_instruments/santur.htm [22 April 2013]
12. http://www.folkways.si.edu/magazine/2010_spring/cover_story-rainbow_3.aspx [22 April 2013]
13. http://www.yeniresim.com/img2874.htm [22 April 2013]
14. http://www.musabas.com/tag/ney [22 April 2013]
15. http://yagmurve.blogcu.com/zurna-ve-tarihcesi/4734925 [22 April 2013]
16. http://eyup2007.wordpress.com/page/2/ [22 April 2013]
17. http://foto.internetara.com/?a=sipsi&id=131231 [22 April 2013]
18. http://soc-arksrv3.aegean.gr/music/showInstrument.php?id=51 [22 April 2013]
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%B1k [22 April 2013]
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21. http://www.bilgiustam.com/davul-nedir/ [22 April 2013]
22. http://www.nedirsor.com/def/ [22 April 2013]
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59
30. http://artdrum.com/DOUMBEKS_DARBUKAS.HTM [22 April 2013]
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33. http://darbuka.pl/category/muzycy/ [22 April 2013]
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38. http://www.ulvicemalerkin.com/biography.htm [22 April 2013]
39. http://www.turkishmusicportal.org/composer.php?id=162 [22 April 2013]
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2013]
43. http://www.bilirkisiheyeti.com/tag/erkin-koray/ [22 April 2013]
44. http://www.allmusic.com/artist/cem-karaca-mn0000336980 [22 April 2013]
45. http://www.turkishmusicclub.com/sezen_aksu.htm [22 April 2013]
46. http://www.lastfm.pl/music/Tarkan/+images/372500 [22 April 2013]
47. http://youzeek.com/?Artist=Kenan+Do%C4%9Fulu&page=Biography&lng=PL#xPAGE_Artist_%3F
lng%3DPL%26artist%3DKenan%2BDo%C4%9Fulu%26page%3DImages [22 April 2013]
60

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